The Image of Christ in Modern Art explores the challenges presented by the radical and rapid changes of artistic style in the 20th century to artists who wished to relate to traditional Christian imagery.
Only since the Romantic period has art been understood in terms of an ineffable aesthetic quality of things like poems, paintings, and sculptures, and the art-maker as endowed with an inexplicable power of creation.
Color is one of cinema's most alluring formal systems, building on a range of artistic traditions that orchestrate visual cues to tell stories, stage ideas, and elicit feelings.
Architecture as Civil Commitment analyses the many ways in which Lucio Costa shaped the discourse of Brazilian modern architecture, tracing the roots, developments, and counter-marches of a singular form of engagement that programmatically chose to act by cultural means rather than by political ones.
First published in 1956, Fuseli Studies deals with the many-sided artistic achievements of Zurich-born Fuseli's baffling personality, who was one of the most erudite and renowned intellectuals of his day in Europe.
Legendary philosopher and literary critic Mikhail Bakhtin (1895-1975) developed concepts which are bywords within poststructuralist and new historicist literary criticism and philosophy yet have been under-utilised by artists, art historians and art critics.
In der kulturphilosophischen Verschränkung von Pragmatismus, Hermeneutik und Rezeptionsästhetik will diese Studie zeigen, dass gerade der ästhetische Erfahrungsgegenstand durch die Aufkündigung starrer Gegenstands- und Verweisdichotomien die Rezipierenden wesentlich dazwischen sein lässt.
This book takes a new, interdisciplinary approach to analyzing modern Viennese visual culture, one informed by Austro-German theater, contemporary medical treatises centered on hysteria, and an original examination of dramatic gestures in expressionist artworks.
Adventurous Film Making (1980) looks at some more ambitious and interesting techniques and shows how these serve film makers in expressing their ideas.
In this impassioned and persuasive book, Bill Ivey, the former chairman of the National Endowment for the Arts, assesses the current state of the arts in America and finds cause for alarm.
The emergence and the activities of a second public sphere in the areas of Soviet influence were intricately linked to the performative and intermedial production and usage of alternative spaces.
Emphasizing the diversity of twentieth-century collage practices, Rona Cran's book explores the role that it played in the work of Joseph Cornell, William Burroughs, Frank O'Hara, and Bob Dylan.
As the last generation of underground artists in the Soviet Union and the first on the post-Soviet scene, Moscow conceptualists provide a unique point of view on the breakup of the USSR, the changing role of unofficial art in a repressive state, and the beginning of a new world order in both art and politics.
Artistic labour was exemplary for Utopian Socialist theories of 'attractive labour', and Marxist theories of 'nonalienated labour', but the rise of the anti-work movement and current theories of 'fully automated luxury communism' have seen art topple from its privileged place within the left's political imaginary as the artist has been reconceived as a prototype of the precarious 24/7 worker.
Post-Traumatic Art in the City comprises an original analysis of the nexus of war, art and urban society in two specific contexts: late 20th-century Beirut and Sarajevo.
Addressed to students of the image-both art historians and students of visual studies-this book investigates the history and nature of time in a variety of different environments and media as well as the temporal potential of objects.
The Situationist International were a group of anti-authoritarian, highly cultured, revolutionary artists whose energy and enragement fundamentally shaped the revolutions of the late 1960's, most famously in Paris in May '68.
In this intimate study Juliet Miller maps the artworks that have influenced her throughout her life and examines how she has integrated them into her development as a psychotherapist.
While the concept of "e;type"e; has been present in architectural discourse since its formal introduction at the end of the eighteenth century, its role in the development of architectural projects has not been comprehensively analyzed.
Theory for Art History provides a concise and clear introduction to key contemporary theorists, including their lives, major works, and transformative ideas.
This book explores post-communist thresholds as materializations of a specific crisis of modern European identity that was caused by the existence and sudden breakdown of Soviet-type communism.
This volume is a study of the connected ideas of "e;queer"e; and "e;gender performance"e; or "e;performativity"e; over the past several decades, providing an ambitious history and crucial examination of these concepts while questioning their very bases.
This book is a theoretical examination of the relationship between the face, identity, photography, and temporality, focusing on the temporal episteme of selfie practice.
This edited collection explores the complex ways in which photography is used and interpreted: as a record of evidence, as a form of communication, as a means of social and political provocation, as a mode of surveillance, as a narrative of the self, and as an art form.
Raffaello Borghini's Il Riposo (1584) is the most widely known Florentine document on the subject of the Counter-Reformation content of religious paintings.
This book presents groundbreaking research and thinking on our interactions with artworks, literature, poetry, music, movies, performances, architecture and design.